Humanize Issue 9

Humanize Issue 9

Humanize Magazine is a completely bilingual publication (Spanish and English) that deals with indie and alternative culture in an innovative manner. It is a meeting point for people who truly want to know more about indie and alternative culture, especially if they are looking for a touch of talent within music, film, photography, art and literature.

HUMANIZE magazine
Issue 9
J
oder. Por fin. Tres meses despu�s. Damn. Finally. Three months later. Hemos llegado al n�mero 9. No voy a entrar al tema de "somos la ostia", ni nada de eso. S�lo quiero decir que somos dos. Y alg�n d�a seremos cientos detr�s de cada letra, de cada dise�o.
Hasta el d�a en el que lleguemos a ser cientos, nos conformaremos con ser dos. Dos que publican para el mundo. Until the day that there are hundreds of us, we'll conform with just being two. Two who publish for the world. Y ahora, a por 10. And now, let's do 10. Much love,
We're finally on issue nine. I'm not going to get into a self-congratulatory mode, saying "we're the shit," or anything like that. I just want to say that's it's just two of us. And some day there will be hundreds of us behind each letter, each design. Tambi�n quiero daros las gracias a los que llev�is m�s de un a�o siguiendo cada uno de nuestros pasos, para lo bueno o para dar por culo. Gracias, de veras. I also want to thank those of you who have been following us for over a year, whether it's been for better or to bitch about us. Thanks, really.
Karla D. Romero
Directora // Editor
Karla D. Romero (karla@humanizemag.com)
Dise�o y Fotograf�a // Design and Photography
Belma Hern�ndez-Franc�s Le�n
(belma@humanizemag.com)
HUMANIZE magazine
Redactores // Writers
F�tima Rodr�guez Rebecca Sch�nsee
Colaboradores // Contributors
Ana Mingot Gina Engst
advertising@humanizemag.com
Publicidad // Advertising
Portada // Cover: Nate Utesch
Humanize Magazine es una publicaci�n independiente, sin pertenencia a grupo, colectivo o asociaci�n. No se hace responsable de la opini�n de sus colaboradores. Prohibida la reproducci�n parcial o total de cualquier contenido. Humanize Magazine is an independent publication that does not belong to a collective group or any association. It does not take responsibility for it contributors' opinions. The reproduction of any content is prohibited.
CONTENIDO CONTENTS
8 The Zombies 16 Anke Becker 26 Nebe Schoensee 36 Nate Utesch
56 Javier Chavarr�a 66 Jose Luis �balo 82 Josef Karolys
BRIEF R E V E
Por // By: Karla D. Romero
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Al AzAr A N D O M
Conocido como Espaldamaceta (Juan Jos� Gonz�lez para su madre), este cantante tarraconense me ha dejado espantada. En el buen sentido de la palabra. Known as Espaldamaceta (AKA Juan Jos� Gonz�lez), this Tarragona native has left me terrified. In the best possible way. S� que mi descubrimiento ha llegado bastante tarde, pero... me da exactamente igual. El caso es que al escuchar las primeras notas de "El camino es muy oscuro y tan estrecho", me he sentido como que ha sido justamente eso, un descubrimiento. No se lo quer�a contar a nadie. Fueron cuatro minutos y medio llenos de lo que parec�a ser una auto-revelaci�n. Quiz�s mi comparaci�n sea absurda, pero mi infancia estadounidense ha limitado mis referencias musicales espa�olas: en fin, ese momento me ha recordado a cuando mi madre me hablaba de cuando era joven y escuchaba a Serrat a escondidas ("Ara que tinc vint anys" no era un �lbum que escuchabas con tu familia en Madrid durante su �poca). I realize that my discovery is a bit overdue, but... I don't care. The point is that as I listened to the first few notes of "El camino es muy oscuro y tan estrecho," I felt just that, a discovery. I didn't want to tell anyone. Four and a half minutes of self-revelation passed. Perhaps the following comparison will seem absurd, but my childhood in the U.S. has limited my Spanish music references: anyway, all of this reminded me of when my mother told me about when she'd secretly listen to Serrat ("Ara que tinc vint anys" wasn't an album you'd listen to with your family in Madrid during the Franco era). Despu�s de escuchar "Miedo al silencio" y "Miedo al silencio, Segunda parte", mand� unos correos a algunos amigos (entre ellos, un par en Latino Am�rica y otros cuantos en EEUU). Tristemente, mi sensaci�n repleta de auto-descubrimiento y angustia al escuchar a Mr. Gonz�lez respirar como si se estuviera asfixiando al final de "Hoy s� que fue mejor", no es algo tan excepcional. Parece ser que todos que lo escuchan sienten exactamente lo mismo. After listening to "Miedo al silencio" and "Miedo al silencio, Segunda parte," I sent a few emails to friends (some in Latin America and others in the U.S.). Sadly, my complete feeling of selfdiscovery and anguish while I listened to Mr. Gonzalez's breathing as if he were being asphyxiated at the end of "Hoy s� que fue mejor," is not that unusual. Apparently everyone who listens to it feels the same exact thing. http://www.myspace.com/espaldamaceta
Zombies
Por // By: Karla D. Romero Fotos // Photos: Belma H-F Le�n
The
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The Zombies es uno de los grupos m�s conocidos y seguidos desde su primer single, "She's Not There". Ser�a extra�o conocer a alguien que no se sepa al menos las primeras l�neas de "Time of Season". �C�mo se siente al estar en una banda con tanta historia y con tantos fans que ha trascendido cinco d�cadas? // The Zombies are one of the most well-known and followed bands since your first single, "She's Not There." It would be surprising to meet anyone almost anywhere who doesn't at least know the first couple of lines of "Time of the Season." That said, how does it feel to be behind a band with so much history and with so many fans that span five decades? No creo que nadie lo sepa a ciencia cierta en realidad, pero recuerdo que desde Decca intentaron crear una imagen excesivamente afectada para la banda en U.K., esto, sumado a algunas sesiones de fotos no demasiado afortunadas pudieron ocasionar ese efecto. Estos desastrosos primeros esfuerzos para dar a c onocer a The Zombies nos persiguieron durante a�os, de hecho e incluso despu�s de tanto tiempo, todavia hoy nos encontramos con que vuelven a aparecer algunas de estas primeras fotos. Sin embargo nuestro �xito en "las listas" en Estados Unidos ocurri� tan s�lo unos pocos meses despu�s, tiempo que aprovechamos para definir una imagen m�s realista, y ayudados por encontrarnos dentro de lo que se percib�a entonces como la "Invasion Brit�nica", refiriendose al tiempo en el que por algunos a�os, las bandas britanicas dominaron "las listas" de Estados Unidos. I don't think anyone really knows for sure but I do remember that Decca tried to create a very contrived image for the band in the U.K., supported by several very weak photo shoots. These disasterous first efforts at publicising The Zombies stayed with us for years and in fact even after all this time we are still occasionally haunted by the re-appearance of those early photos. In contrast our chart success in America happened a few months later than in the U.K by which time we had established a slightly more realistic image and were also helped by being perceived as part of the so called "British Invasion", when for a few years British bands dominated the U.S. charts. �Qui�nes fueron vuestra principal influencia musical antes de crear The Zombies? // Who were your main musical influences before creating The Zombies? En realidad The Zombies eran una banda de colegio que empez� en St. Albans en 1961. En 1964 competimos en el concurso "The Hertfordshire Beat Competition", un gran evento, en el que participaban bandas y sus fans de toda inglaterra compitiendo en un ambiente electrico, m�s como en un partido de f�tbol que en un concierto! Me sorprendi� mucho que ganaramos y creo que fue entonces cuando desaparecieron todas las posibles dudas a cerca de si deber�amos convertirnos en profesionales de la m�sica. Actually The Zombies were a school band that began in St.Albans in 1961. In 1964 we took part in "The Hertfordshire Beat Competittion" which was a brilliant event featuring bands and their fans from all over England competing in an electric atmosphere, more like a soccer match than a concert!. I was amazed when we won and I think that night any lingering doubts about whether we should turn professional finally disappeared.
A pesar de estar presentes desde principio de los sesenta, vuestras canciones son eternas, sin duda. �Creeis que existe una f�rmula musical para canciones con este tipo de calidad eterna? // Despite being around since the early sixties, your songs are undoubtedly timeless. Do you think there's a certain musical formula for songs with this sort of timeless quality? The Zombies beben de un amplio espectro de influencias musicales, Jazz desde los clasicos hasta el presente, del blues al R&B y Rock. Creo que esto nos hace sonar diferente a otras bandas y fue uno de nuestros puntos fuertes, pero a la vez, que nuestra musica fuera tan variada se convriti� tambi�n en una de nuestras debilidades, de tal manera que como la radio y la prensa no pod�an catalogarnos facilmente, les resultaba confuso y perd�an inter�s. The Zombies drew on influences from a very wide spectrum of music, classical to modern jazz, to the blues and R&B and onto rock. I think this made us sound different to other bands of the time and was one of our main strengths but because our music was so varied it also became one of our main weaknesses as if radio and the press can't easily categorize a band they tend to get confused and lose interest. Vuestra separaci�n en 1967 seguido del gran �xito de "Time of the Season" mucha gente se pregunta porqu� no os reunisteis en medio de vuestro �xito. �Creeis que tomasteis la decisi�n correcta al no reuniros de nuevo? �Por qu� o por qu� no? // Your breakup in 1967 and that being followed by "Time of the Season" being a huge hit has made a lot of people wonder why you didn't reunite in the midst of your success. Do you think you made the right decision by not getting back together? Why or why not? En Rod Argent tuvimos con nosotros a un gran pianista que tambi�n ten�a a�os de experiencia cantando en el coro de una Catedral. Su impresionante musicalidad fue una gran inspiraci�n para nosotros y nos gui� por lugares en los que algunas bandas cohetaneas se encontraban explorando. M�s tarde conseguimos cierta ventaja gracias a tener dos compositores muy prol�ficos, como Rod y Chris White. In Rod Argent we had a world class keyboard player who also had years of experience singing harmonies in a cathedral choir. His sheer musicality was a huge inspiration to us as he led us into areas that few other bands of the time were exploring. Later on we had the advantage of having two fine and prolific writers in the band as Rod and Chris White honed their writing skills on the early Zombies recordings. humanize 11
�Qu� distingue a los fans de Estados Unidos de los de Inglaterra y de los de Espa�a? // How would you differentiate fans from the U.S. from those in the U.K. and those two from fans in Spain? Tito Burns fue nuestro manager y agente. En 1964 obtuvo un gran �xito y una gran posici�n de poder, y nos ayud� inmensamente a promocionar nuestro primer single. Tristemente, debido a que provenia de una "era" diferente a la nuestra, creo que nunca vio la "foto completa". Con el tiempo perdi� su notoriedad y finalmente se sumergi� en la oscuridad. Tito Burns was our manager and our agent. In 1964 he was very successful and powerful and helped us immensely promoting our first single. Sadly, coming from a different era I don't think he ever saw the bigger picture. He eventually lost all his big acts and in the end faded into obscurity. �Habeis actuado antes en Espa�a? �Qu� tal ha sido? // Have you performed in Spain before? If so, what was the experience like? Que yo recuerde, yo nunca me reun� persoalmente con nadie de Decca o C.B.S. lo que parece algo extra�o, aunque creo que algun otro de los miembros de la banda si lo hicieron. From what I remember I personally didn't once meet anyone from Decca or from C.B.S. which seems a little strange, although I think some of the others in the band did. �Qu� os ha hecho hacer una gira tan grande por Espa�a? // What made you want to do such an extensive tour in Spain? En el momento en que "She's Not There" se convirti� en un hit inmediato, Decca quiso que grabaramos un album muy rapidamente. Dado que Rod y Chris acababan de empezar a componer nos vimos en un problema para encontrar material, y este fue de peor calidad por el hecho de que Tito Burns nos mantenia tocando en conciertos ca hora de cada d�a y cada noche sin absolutamente ningun tiempo para grabar. En consecuencia, nuestro primer album, "Being Here", fue una aventura muy precipitada, grabado en los estudios Decca, en West Hamstead, Londres, en tan solo 2 o 3 tardes en el oto�o de 1964. A posteriori nos dimos cuenta de que simplemente fue grabado demasiado pronto, asi como que "Odissey and Oracle" fue grabado demasiado tarde probablemente. Por fin en 1967, se permit� a la banda producir su propio album. De alguna manera conseguimos tener alguna manera conseguimos grabar en Abbey Road con algunos de los mejores tecnicos de sonido del mundo. Cuando estuvo terminado, todo el mundo estaba encantado con el album pero cuando empezaron las ventas y vimos que las cifras eran decepcionantes fue evidente que los no compositores de la banda estaban en serios problemas econ�micos. Esto, sumado aalgo de falta de inter�s en la banda hicieron evidente que el grupo habia llegado ya a su techo y decidimos disolver el grupo y emprender cada uno nuestras carreras con nuevos proyectos. La iron�a est� en que en "Time of the Season" la banda obtendr�a su mayor �xito a nivel mundial un a�o despu�s de haber se disuelto, y muchos a�os despu�s , la revista "Rolling Stone" clasific� "Odessey and Oracle" como uno de los mejores 100 albumes de todos los tiempos. humanize 12
When "She's Not There" was an immediate hit, Decca wanted an album recorded very quickly. Because Rod and Chris had only just started writing we had a real problem finding material which was made worse by the fact that Tito Burns had us playing concerts every hour of every day and every night with no time set by to record. Consequently our first album "Begin Here" was an extremely rushed affair, recorded at Decca Studios in West Hamstead, London over just 2 or 3 evenings in the Autumn of 1964. With the benefit of hindsight it was simply recorded too soon whereas Odessey And Oracle was probably recorded too late. In 1967 at long last the band was allowed to produce it's own album. We somehow managed to get time in Abbey Road and work with some of the best engineers in the world. Everyone was thrilled with the finished album but when initial sales were disappointing it became apparent that the non-writers in the band were in serious financial trouble. This combined with a general lack of interest in the band seemed to signify that the band had gone as far as it could and it was decided we should all move on to new projects. The irony was that in "Time Of The Season" the band would have it's biggest worldwide hit a year after the band had ceased to exist and that many years later "Rolling Stone" magazine would nominate "Odessey and Oracle" as one of the best 100 albums of all time! �C�mo ha evolucionado The Zombies desde su separaci�n desde 1967 hasta ahora? �Qu� ha cambiado y qu� sigue igual? // How have The Zombies evolved since your initial split in 1967 to now? What has inevitably changed and what has remained the same? Rod y yo empezamos a tocar juntos hace unos 10 a�os. Por aquel entonces no nos llamabamos "The Zombies" ni tocabamos muchas canciones de "The Zombies", cuando de repente el p�blico empez� a demostrar un apetito voraz por material de "The Zombies". Durante algun tiempo fuimos reacios a asumir este inter�s pero cuando la presi�n empez� a llegar desde diferentes frentes "ondeamos la bandera blanca" y poco a poco pero con paso firme fuimos evolucionado hacia "The Zombies" de hoy en d�a. Rod and I started playing together again about 10 years ago. We didn't use the name "The Zombies" and we didn't play many Zombies tunes. It genuinely surprised us when however much we objected promoters started billing us as "The Zombies" and then suddenly audiences started showing a very keen appetite for Zombies material. For a long time we refused to acknowledge this interest in our past but eventually with pressure coming from all sides we "waved the white flag" and slowly but surely evolved into a modern day Zombies.
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�Qu� es lo que m�s os gusta hacer cuando est�is actuando o componiendo m�sica? // What do you all love to do when you're not performing or making music? Por supuesto reconocemos nuestra herencia gracias a tocar temas de los Zombies, pero tambien tocamos temas de otros puntos de nuestras carreras , Argent, The Alan Parsons Project, y algunos otros proyectos en solitario y los dos albumes de estudio que grabamos cuando vovlimos a tocar juntos de nuevo. Of course we acknowledge our heritage by playing many Zombie tunes but we also feature tracks from other other areas of our careers notably Argent, The Alan Parsons Project, various solo projects and the two studio albums we have recorded since we started playing together again. �Cu�l es la mejor m�sica que habeis escuchado recientemente? �Qu� es lo que m�s os gusta? // �What's the best new music you're listened to recently? What do you like about them? Ace Records es una buena discogr�fica, dirigida por enamorados de los discos a enamorados de los discos. Estamos muy orgullosos de formar parte de su catalogo. Ace Records is a fine record label, run by record enthusiasts for record enthusiasts. We are very proud to be part of their catalogue. �Creeis que se sigue haciendo buena m�sica o creeis que la calidad de m�sica que se hac�a en los sesenta y los setenta ya existe? // Do you believe that great music is still being made or that the sort of quality music that was being created in the sixties in seventies no longer exists?
Como no estabamos juntos al conocer el �xito de "Odessey and Oracle" la primera vez que pas� fue especialmente satisfactorio obtener el prestigioso "Classic Album Award" de la revista Mojo en 2009, 42 a�os despu�s de que fuera grabado!! As we weren't together to acknowledge the success of "Odessey and Oracle" the first time around it was particularly rewarding to be awarded the prestigious "Classic Album Award" from Mojo magazine in 2009, 42 years after it was originally recorded!! �Cu�les son vuestros planes de futuro cuando acabe la gira? // What are your plans for the future after your tour ends? Para mi ha habido dos epocas de "The Zombies" claramente dirferenciadas. En los 60, cuando disfrutamos de la emoci�n de un hit mundial con nuestro primer disco y establecimos las bases de nuestras carreras como j�venes m�sicos, y mas recientemente cuando, totalmente por sorpresa, nos encontramos con un inter�s por nuestro pasado musical y hemos vuelto a tener un calendario "estable" de actuaciones y un buen numero de fans en todo el mundo. For me there have been two "Zombie lifetimes". In the 60's when we had all the excitement of an international hit with our first record and set of as young musicians to lay the foundations of our careers and more recently when we were taken totally by surprise at the interest in our past and have through constant touring built up a solid world wide fan base all over again.
La reaLidad paraLeLa de ed aLeLarap dadiLaer aL
Anke Becker
Por // By: F�tima Rodr�guez
Es dif�cil trabajar en un arte abstracto y poco figurativo, y dar a conocer un estilo tan poco comercial es a�n m�s complicado. Sin embargo, una habilidosa combinaci�n de colores y figuras es lo que puede hacer a este tipo de arte algo bello, y esto es lo que distingue a los cuadros creados por las manos de Anke Becker en Constructing Utopia. Chispas de color y genialidad conforman su obra. It is difficult to work in abstract and non-figurative art, and disclose this non-mainstream style is even more complicated. However, a skillful combination of colors and shapes is what makes this kind of art a beautiful thing, and this is what distinguishes the paintings created by the hands of Anke Becker in Constructing Utopia. Sparks of color and genius make up her work. A grandes rasgos, Constructing Utopia se puede describir de la siguiente manera: distintos fragmentos se unen entre s� para formar una serie de paisajes ca�ticos y barrocos. Estas piezas suelen ser recortes de prensa que se mezclan con dibujos y trazos dibujados por la propia Anke. No muestran nada en concreto, pero producen sensaciones �nicas. Explicar esto es dif�cil, y por supuesto es mejor ver estas obras que intentan explicarlas con palabras. En todo caso, dejemos que Anke explique qu� intenta expresar: "Intento crear series, que cambian entre la realidad y la abstracci�n, siempre con el objetivo de irritar y al mismo tiempo de estimular los ojos del espectador y sus h�bitos a la hora de mirar. Me gusta la imagen de caminar lentamente a trav�s de terrenos con los ojos, parar en determinados puntos y despu�s ir m�s all�. Trato crear composiciones, que indican una percepci�n imaginaria sin fin y adem�s enfatizar que siempre una realidad posible junto a lo visible. De alguna manera intento construir mapas imaginarios y plantas de paisajes ut�picos". Broadly speaking, Constructing Utopia could be described in the following way: different fragments join together to form a chaotic and baroque series of landscapes. These pieces are often newspapers clippings mixed with drawings and lines drawn by Anke. They do not show anything in particular, but produce unique experiences. Explaining this is difficult, and of course it is better to see these works that trying to explain them with words. In any case, let Anke explains what she tries to express: "I am trying to create settings, which change between reality and abstraction, always with the aim to irritate and also stimulate the spectator's eyes and viewing-habits. I like the image of walking slowly through my landscapes with the eyes, of stopping at certain points and then going further. I attempt to create compositions, which indicate an imaginary endlessness perception and I also want to emphasize that there is always a possible reality beside the visible one - I somehow try to construct imaginary maps and plans of utopian landscapes."
The paraLLeL reaLiTy of fo yTiLaer LeLLarap ehT
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Conectando piezas // Connecting Pieces
Llama la atenci�n c�mo algunos cuadros son similares y podr�an encajar c�mo si fueran un puzzle. Esto pasa en diversos lados de la sala de la exposici�n: a un lado, unos grandes cuadros de gran colorido podr�an juntarse para formar uno solo. Por otro lado, una serie de mini cuadros recuerdan a c�lulas, que tambi�n podr�an unirse para formar algo, quiz�s un organismo. Anke nos comenta esto: "Este efecto seguramente viene por mi manera de trabajar: re�no peque�as piezas individuales a trav�s de un contexto mayor y una nueva perspectiva. Aparte de esto, suelo trabajar en series parecidas a puzles porque en principio para m� indica, de alguna forma, un infinito posible (de composici�n, tal como pensaba)". Tambi�n es curioso c�mo Anke se empe�a en subrayar el borde de algunas piezas, c�mo si intentase que �stas saltasen a la vista a�n m�s. �Por qu� sucede esto?: "Mientras trabajo siempre me interesan los bordes y los filos �no s�lo porque la t�cnica de recortar una pieza de papel siempre crea bordes afilados, sino tambi�n en un sentido metaf�rico. En el pasado, trabaj� en una gran serie de islas compuesta por muchos peque�os detalles. La llam� Piezas Individuales. Dibuj� los bordes de toda la composici�n para juntarlos todos y crear una capa uniforme que rodease a los fragmentos individuales. Con este m�todo a�ado una fina l�nea alrededor de un collage de piezas en 3 dimensiones con el objetivo de definir claramente el borde entre papel blanco y espacio dise�ado. El principio de una isla l�gicamente sigue las mismas reglas". It is striking how some pictures are similar and they fit like a puzzle. This happens on different sides in the room of the exhibition: on one side, large colorful boxes could come together to form one. On the other hand, a series of miniature paintings resemble cells that could also join together to form something, perhaps a body. Anke tells us that, "This effect surely comes by the way I work: putting together small single pieces into a larger context and a new perspective. Besides that, I often work in puzzle-like series because for me this principle indicates somehow a possible infinity (of composition as well as thoughts)." It's curious how Anke also strives to highlight the edge of some parts, as if she tried to attract attention on them even further. Why is this? "While I'm working I am always interested in borders and edges - not only because the technique of cutting out a piece of paper always creates sharp edges but also in a metaphorical sense. In the past I worked on large series of islands composed by many small details. In the exhibition now there is a kind of abstract island-series as well. It is called `single pieces.' I draw the edges of the entire composition to put everything together and to create a uniform layer surrounding the single fragments. With this method I add a flat line around the more 3-dimensional collage pieces with the aim to clearly define the border between white paper and designed space. The principle of an island logically follows the same rules."
Ante un estilo tan poco convencional, est� claro que la creadora debe ce�irse a un m�todo que se salga de lo normal. Esto no significa que deba tomarse a la ligera. Todo lo contrario, Anke sigue una metodolog�a concienzuda y que requiere mucha constancia: "Mi obra consiste en piezas recortadas y superficies dibujadas. Uso revistas y fotos para la parte de las piezas y l�pices de colores, rotuladores y bol�grafos para las partes dibujadas. Antes de empezar la composici�n, defino en sucio los colores y el titulo (como, por ejemplo, `ciudad jard�n', `plan', `panorama', `monta�a'). Y despu�s trabajo como si estuviese cosiendo: empiezo en un punto en concreto y creo la composici�n final juntando cada fragmento. Siempre intento evitar composiciones centralizadas y contenidas porque pienso que es importante crear la impresi�n de que pueda `salirse de la raya'. Y por eso me muevo por todo el papel mientras desarrollo los detalles. El concepto de una composici�n por todo el papel es fundamental para mi trabajo". With an unconventional style, it is clear that the creator must follow an out-of-the-ordinary method. This does not mean it should not be taken seriously. On the contrary, Anke follows a thorough methodology and requires much perseverance. "My work consists of cutout collage patterns as well as drawn surfaces. I use magazines and photos for the collage parts and different colored pencils, markers, felt-tip pens for the drawn pieces. Before I start with a composition I define the rough chart of color range, and the working title (like for example, `garden city,' `plan,' `panorama,' `mountainside'). Then I work as if I were knitting a piece of textile: I start at a certain point and create the final composition by putting one fragment together with another and so on. I am always trying to avoid centralized and self-contained compositions because I find it important to keep the impression of a possible `going over the border.' In order to achieve that, I move around the paper while working on the details. The concept of an all-over composition is fundamental for my work."
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Los humanos no son bienvenidos // Humans Aren't Welcome
Una caracter�stica interesante del estilo de Anke Becker es que no aparecen figuras humanas por ninguna parte. Podemos ver otros elementos, como frutas o flores. Pueden intuirse elementos humanos, como trozos de pelo o piel: pero nunca veremos un cuerpo humano entero, como el retrato de un hombre o una mujer. Esto me llam� la atenci�n, as� que pregunt� a Anke la raz�n. "Me interesan mucho mas las estructuras y los colores que la descripci�n figurativa. Es importante para me que mis dibujos y collages sean como matrices para los ojos sin la distracci�n de figuras humanas. No quiero contar historias lineales. Prefiero ofrecer la posibilidad de pensar en lo que existe entre lo abstracto y la realidad." An interesting feature of Anke Becker's style is that there are no human figures anywhere. We can see other items such as fruits or flowers. We can sense human elements, like pieces of hair or skin, but we never see a whole human body, like the portrait of a man or a woman. This caught my attention, so I asked Anke the reasoning behind it. "I am very much more interested in structures and colors than in figurative description. For me it is important that my drawings and collages work like a matrix for the eyes without the distraction of human figures. I don't want to tell linear stories but rather offering the possibility to think about the wide range between what is abstract and what is reality." Al contrario que en un arte m�s figurativo, es m�s dif�cil pensar en unos referentes cl�sicos. Todos podemos pensar en el estilo de Jackson Pollock, pero poco m�s. Anke nos habla sobre todo lo que ha influido en ella para que su estilo sea de esta manera: "Muchos artistas que trabajan con composiciones por todo el papel son referencias importantes para mi. Por ejemplo, me interesa mucho el trabajo de Jackson Pollock, aunque definitivamente sea un pintor. Tambi�n me interesan las pinturas paisajistas medievales por su fluctuaci�n entre la percepci�n abstracta, ornamental y natural." Por otra parte, es inevitable preguntar qu� elementos estimulan su creatividad, qu� hace que la creadora se inspire. "Definitivamente me inspiran todo tipo de mapas e im�genes desde la perspectiva de un p�jaro (Google Earth, pinturas paisajistas y modelos arquitect�nicos). Y tambi�n me interesan mucho las teor�as arquitect�nicas y pol�ticas, las cuales tratan con conceptos vivientes, con utop�as pol�ticas y sociales � sobretodo de los a�os veinte y sesenta, y tambi�n el libro "Utopia", de Thomas Morus fue importante para mi y mi aproximaci�n al arte". In contrast to a more figurative art, it is more difficult to think of some classic references. We can remember Jackson Pollock's style, but little else. Anke talks about everything that has influenced her style to be this way: "Many Artists who deal with the principle of all-over compositions are important references for me: For example I am very much interested
in the work of Jackson Pollock even though he definitely is a painter. I am also interested in medieval landscape pictures because of their oscillating between abstraction, ornament and naturalistic perception." On the other hand, it is inevitable to ask about the elements that stimulate her creativity, what inspires to the creative: "I am definitely inspired by all kinds of maps and by any images from the bird's perspective (Google Earth as well as landscape paintings and architecture models). And I am also very interested in architectural and philosophical theories, which deal with new concepts of living, with political and social utopia - especially from the twenties and sixties, and the book "Utopia," by Thomas Morus was also very important to me and my approach to art." Una de las creaciones favoritas de Anke Becker son los libros que ella misma ha pintado, recortado y pegado. En Constructing Utopia hay dos, Meteor y The Sea, en el que varias figuras y letras se intercalan para hacer disfrutar a los sentidos. De hecho, volver a crear este tipo de libros se encuentra entre los pr�ximos proyectos de la creadora alemana: "Estoy haciendo unos libros nuevos de arte � inspirados por los libros que hice para la galer�a Columpio. Nunca hab�a creado libros, pero me encant� y ahora, �quiero hacer m�s! A la vez estoy experimentando con obras enormes y con letras y fragmentos de textos en mis collages. Y a partir de eso, estoy preparando un nuevo n�mero de una serie de exposiciones con otros artistas internacionales llamada, `Dibujos Anonimos', que empec� en el 2006". Some of Anke Becker's favorite creations are the books that she has painted, cut and paste. In Constructing Utopia she has created two, Meteor and the Sea, where several figures and letters are interspersed to give pleasure to the senses. In fact, to recreate this kind of book is one of Anke's next projects. "I am working on some new art books - inspired by the books I produced for Columpio Gallery. I never created books before but I really loved it and now I want to go further! At the same time, I am working on new large-sized works, experimenting with letters and text fragments in my collages. And besides that, I am preparing a new issue of an exhibition series with international artists called, `Anonymous Drawings', which I initiated in 2006."
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NEBE
Por // By: Rebecca Sch�nsee Traducci�n // Translation: ana Mingot
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SEBASTIAN
JOAS
MelodiaS de TRauMa: loS ToTeM ToonS de
TuneS of TRauMa: JoaS SeBaSTian neBe'S ToTeM ToonS
"El hombre ha escapado de su cabeza como un convicto de la prisi�n". Los cuatro Totem Toons evocan esa misma visi�n del ideal de Battaille en Ac�phale, un hombre "cuya cabeza decapitada en la forma de una calavera toma refugio donde deber�an estar sus genitales", como Masson m�s tarde describi� su emblem�tica imagen, portada del primer n�mero de "Ac�phale", que apareci� en junio de 1936 inducido por el estallido de la Guerra Civil Espa�ola. "Man has escaped from his head as a convict from prison." Nebe's four "Totem Toons" evoke that very vision of Bataille's ideal of the "Ac�phale," a man "whose decapitated head in the form of a skull head taken refuge where his genitals should be" as Masson would later describe his emblematic image on the cover of the first issue of "Ac�phale," which appeared in June 1936, induced by the outbreak of the Spanish Civil War.
Acechando en las sombras de los paisajes viscerales y de los caparazones arquitect�nicos sim�tricamente reflejados en un espejo, est� la par�bola de la hembra mantis religiosa. Conocida por decapitar a su pareja durante el acoplamiento, tiene una larga historia de simbolizar la amenaza de la castraci�n. Las diferentes configuraciones en forma de vulva de las que los Totems de Nebe emergen, muestran un complejo deseo masculino por un encuentro arriesgado con la otredad femenina. Lurking in the shadows of Nebe's visceral landscapes and the folding of architectural shells around mirror axes is the parable of the female praying mantis. Known to decapitate her partner during mating, it has a long history of symbolizing the threat of the femme fatale and the menace of castration. The different vulva-like configurations out of which Nebe's Totems emerge display a complex masculine desire for a hazardous encounter with the female Other.
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Mirado desde el campo fantasm�tico alrededor de la mantis religiosa, el animal t�tem del arte surrealista, el t�tem m�s tentador de este ciclo es el Toon de Nebe titulado Spider. Aqu�, las l�neas sinuosas sugieren la apertura y cierre de la vagina dentada. Es como si fu�ramos testigos de la mantis religiosa devorando a su pareja masculina. Read against the fantasmatic field surrounding the female praying mantis, which has been called the totem animal of surrealist art, Nebe's Spider-Toon is the most tantalizing "totem" within this cycle. Here, the meandering lines conjure up the image of the opening and closing of the toothed vagina. It is as if we were to directly witness the praying mantis devouring her male partner. Este poderoso momento de horror es adumbrado por Ant donde Nebe alienta las fotograf�as an�logas de desoladores espacios urbanos con visiones animadas de nubes. De esta forma a�ade un componente neum�tico al sino inm�vil Toon, jugando con la imagen del artista como nigromante que inhala la red cadav�rica de espacios llanos con esp�ritu art�stico en un intento de dominar el cuerpo de lo femenino. Sin embargo Nebe clarifica lo siguiente: El cosmos femenino que anima es una trampa. "�Ay! Y vano y vac�o como muros de c�rcel, el cielo ci�rnese como curva guada�a sobre mi frente... ", estos versos de H�lderlin citados por Masson al describir su Ac�phale ya no se refieren a estos Totem Toons. El cielo de Nebe es apropiado y alterado. Su respiraci�n mec�nica nos recuerda a un presente, esparcido de desastres naturales, conflictos y crisis. Los efectos catacl�smicos del cambio clim�tico, un tema en el que Nebe ha estado trabajando en otro ciclo de dibujo animado, no pueden ser negados. This powerful moment of horror is adumbrated by the "Ant" Toon, in which Nebe inspirits the analogue photographs of desolate urban spaces with animated cloudscapes. He thus adds a pneumatic quality to the otherwise motionless Toons playing on the image of the artist as necromancer, who inhales the cadaverous web of shallow spaces with artistic spirit as an attempt to master the body of the feminine. Yet Nebe clarifies the following: The female cosmos he animates is a trap. "Alas both deceptive and bare/The sky like prison walls/ bows its weight on my head..." These lines by H�lderlin quoted by Masson on describing his "Ac�phale" no longer apply to the Totem Toons at hand. Nebe's sky is appropriated and altered. Its mechanical breathing reminds us of a present, scattered with natural disasters, conflicts and crises. The cataclysmic effects of climate change, a topic on which Nebe has been working in another cartoon cycle as well, cannot be denied.
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Peacock y Giraffe aparecen como reliquias de nuestros paisajes post-traum�ticos. Saltando de arriba abajo dentro de los calibrados fotogramas poligonales, nos cuentan historias de la extinci�n de la diferencia y de la p�rdida de la Otredad. Compuestos por casas fragmentadas, disecadas, sacadas del Wild Wild West americano, se refieren a la desaparici�n de las fronteras, a la alteraci�n de los regimenes espaciales y a la aniquilaci�n de los espacios urbanos. "Peacock" and "Giraffe" appear as the remnants of our post-traumatic landscapes. Jumping up and down within the calibrated polygonal film-frames, they tell us stories of the extinction of difference and the loss of the Other. Composed of fragmented, dissected houses of the American "Wild Wild West" they refer to the demise of frontiers, the shifting of spatial regimes and the annihilation of urban spaces. Sin embargo, parecen rid�culamente inconscientes de ello. Peacock y Giraffe se nos presentan como objetos sin cabeza, meras m�scaras, dirigidos por el maestro titiritero Nebe. Al desnudar a la pel�cula de sus componentes esenciales, el movimiento y el dialogo, y al desviar la acci�n al marco y al dise�o de sonido (Peter Kastner), Nebe deliberadamente expone su proceso de factura e inflige su discreta violencia en los prerrequisitos del medio aplicado. Yet they seem to be ridiculously unaware of it. "Peacock" and "Giraffe" appear as headless objects, mere masks, directed by the master puppeteer, Nebe. By stripping the film bare of its essential components, motion and dialogue, and by deflecting the action into the frame and the sound design (Peter Kastner), Nebe deliberately exhibits his process of facture and the infliction of discrete violence on the prerequisites of the media applied. El doblamiento de las casas, el acto de privar a los movimientos gr�ficos de di�logo, y el calibramiento, es decir la circuncisi�n, del marco en pol�gonos, lleva consigo la compleja ret�rica de la violaci�n masculina contra los s�mbolos de lo femenino. Sin embargo, la amenaza de la castraci�n planteada por el cuerpo de la mujer, la monstruosidad femenina, permanece. Nebe nos hace darnos cuenta de que no existe un exorcismo gr�fico en movimiento. La falta de profundidad de los t�tems resiente la empat�a del espectador, adentr�ndonos a�n m�s en el amenazante medio, acechando en las sombras del marco. The folding of houses, the act of depriving the motion graphics of dialogue, and the calibrating, hence circumcision, of the frame into polygons carries an intricate rhetoric of male violation against symbols of the feminine. However, the threat of castration posed by the woman's body, the monstrous-feminine, lingers. Nebe makes us aware that there is no such thing as an exorcism motion graphic. The flatness of the totems resents the beholder's empathy and leads us even deeper into the threat environment, looming within the shadows of the frame.
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A la inversa, los t�tems adoptan una calidad grotesca. Al seguir sus esfuerzos en vano por orquestar un escape d�daloniano de su caja negra, uno no puede m�s que sonre�r. Pues estos t�tems reivindicando un poder m�gico nunca saldr�n de la herida vaginal a la que est�n condenados a habitar. Pero, es precisamente al inducir este momento de rid�culo que Nebe consigue un fuerte momento de auto-reflexi�n. Conversely, the totems adopt a grotesque quality. As one follows their vain efforts to stage a Daedalian escape from their black box, one cannot but grin. For these totems claiming to have magical power will never leave the vulvic wound they are bound to inhabit. But, it is precisely by inducing this moment of ridicule that Nebe achieves a strong moment of self-reflection. Los Totem Toons de Nebe nos hacen preguntar si, en vez de propiciar una sociedad a gusto con lo instintivo, como Bataille imagin� su Ac�phale, hemos ca�do en un laberinto sincr�tico, unidimensional, y estructurado por los vectores del miedo. El aparentemente glorioso cambio de verticalidad a lo horizontal aparece frustrado, cuando uno se da cuenta de que no solo el hombre ha escapado de su cabeza como un convicto de prisi�n, sino que el cuerpo tambi�n ha escapado de sus �rganos. Lo que queda es una multitud de avatares, partidarios a t�tems sin una tribu. Como hormigas sobre una cinta de Moebius, sin saber si estamos dentro o fuera, escondi�ndonos detr�s de m�scaras de metrosexualidad continuamente evitando el deseo del Otro. Nebe's Totem Toons make us wonder, whether instead of bringing about a society at ease with the instinctual, as Bataille has envisioned his Ac�phale, we may have fallen into a syncretic, one-dimensional maze, ordered from vectors of fear. The seemingly glorious change from verticality into the horizontal appears thwarted, as one comes to realize, not only has man escaped his head like a convict from prison, but the body has also escaped its organs. What's left is a crowd of sexually ambiguous avatars, adherents to totems without a tribe. We run like ants on a Moebius band, not knowing whether we are on the inside or on the outside, hiding behind masks of metrosexuality continually avoiding the Other's desire. Al instar al espectador a descifrar la l�gica parad�jica del juego carnavalesco desarrollado dentro de sus espejos tot�micos, Nebe obliga al espectador a reencontrarse continuamente de manera nueva con su ser disecado y el subconsciente �ptico. Al trabajar con la compleja metaestructura de las yuxtaposiciones, incesantemente evadiendo la interpretaci�n, Nebe logra crear una intensa sensaci�n de angustia. A veces, el zumbido impersonal de la ch�chara grabada en un hotel retorna ins�litamente, como para burlarse de aqu�l que observa el tab� del tacto, llegando m�s all� del medio cinematogr�fico y los t�tems expuestos.
As Nebe urges the viewer into deciphering the paradoxical logics of his carnival-esque game played out within his totemistic mirrors, one is coerced into ever-new encounters with the dissected self and its optical unconscious. By working with an intricate meta-structure of juxtapositions, incessantly escaping interpretation, Nebe builds up an intense feeling of anguish. At times, the humming sound of impersonal chatter recorded in a hotel, returns uncannily as if to mock the beholder of the taboo of touch, reaching far beyond the medium of filmmaking and the totems on display. Me entra un deseo de romper el embrujamiento y salir fuera y respirar profundamente el salado aire fresco de oto�o. Mientras siento el viento acariciar mis pulmones, oigo los Totem Toons de Nebe pronunciar una leve risa sard�nica. Me siento tentada a aceptarla con una sonrisa, pues soy una mujer. Y me pregunto como hubiera reaccionado un espectador masculino. Me imagino que requiere audacia escuchar la melod�a de los Totem Toons de Nebe ya que conlleva las monstruosas melod�as del trauma. I feel a burning desire to break the spell and to step out into the open to take a deep breath of the fresh salty fall air. As I feel the wind caressing my lungs, I hear Nebe's "Totems Toons" uttering a faint, sardonic chuckle. I am tempted to embrace it with a smile, for I am a woman. And I wonder, how a male beholder would have responded. I figure, it takes some audacity to listen to the tune of Nebe's "Totem Toons" for it carries monstrous tunes of trauma.
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NATE
UTESCH
Entrevista // Interview: Karla D. Romero Traducci�n // Translation: Gina Engst
Donde
se unen la
ilustraci�n,
la m�sica y el dise�o
Where
Illustracion,
Music and
Design
Meet
Izquierda // Left: para for Ferocious Quarterly No.2/ ilustraci�n que acompa�a una historia de Matt Beers llamda "The Sad Champion and Her" // For Ferocious Quarterly No.2 / companion to a story by Matt Beers called "The Sad Champion and Her Trophy" P�gina anterior // Previous page: Para Ferocious Quarterly No.1/ ilustraci�n que acompa�a una historia de Scott Kirkpatrick llamada "Black Sheepish" // For Ferocious Quarterly No.1 / companion to a story by Scott Kirkpatrick called "Black Sheepish" Derecha // Right: Para Ferocious Quarterly No.2/ ilustraci�n que acompa�a una historia de Scott Kirkpatrick llamada "Sound od Sounds Underwater // For Ferocious Quarterly No.2 / companion to a story by Scott Kirkpatrick called "Sound of Sounds Underwater"
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1.�Cu�ndo y d�nde naciste? �Cu�l es tu formaci�n art�stica
(estudios, otros proyectos del pasado)? // When and where were you born? What's your arts background (school, other projects from the past)?
Nac� en Danville, Illinois en 1981. Hijo de un psic�logo y una artista comercial. Danville es un pueblito peque�ito al este de Champaign. Y siempre sigo esa frase diciendo que es el lugar de nacimiento de Gene Hackman, Dick Van Dyke y el astronauta de la Misi�n Atlas, Joe Tanner. A�n as�, no reclamo a Illinois con ninguna importancia, nos mudamos antes de que mi cerebro empezara a guardar datos. Las copias de seguridad de los datos empezaron en Purdue University en Lafayette, Indiana, mientras mi padre terminaba su carrera. Despu�s estuvimos en San Diego, California hasta que mi madre terminara la suya y por fin, en Fort Wayne, Indiana hasta el d�a de hoy. I was born in Danville, Illinois in 1981. Son of a psychologist and a commercial artist. Danville is the smallest little somethingor-other east of Champaign. And I always follow this up with saying it's also the birthplace of Gene Hackman, Dick Van Dyke and Atlas Mission astronaut, Joe Tanner. Although, I can't really claim Illinois with any sort of significance, we moved before my brain started saving data. The data backups started at Purdue University in Lafayette, Indiana while my dad finished school--then San Diego, California until my mom finished school--and finally, Fort Wayne, Indiana until present. Siempre me ha gustado la ilustraci�n. Recuerdo cuando era muy peque�o y mi padre intentaba obligarme a dejar de dibujar para que saliera de casa y hiciera amigos. O me intentaba convencer de que era importante dejar de dibujar cuando tenia que hacer caca. Supongo que por eso estaba tan estre�ido cuando era chiquit�n. Pero en cuanto lleg� la adolescencia, fue la m�sica lo que realmente me dio vida. He estado en varios grupos durante los �ltimos 16 a�os de mi vida. Algunas fueron experiencias cortas en las que nunca llegamos a salir del s�tano y otras consumieron una gran parte de mi vida. Y he ilustrado y dise�ado para todas. Mucho antes de saber que quer�a hacer una carrera profesional en ello. I've always loved illustration. I have early memories from my childhood of my dad trying to force me to stop drawing and doodling and go out and make friends. Or to try to convince me that it was important to stop drawing when I needed to make a poop. I guess it lead to some pretty painful constipation when I was a little tike. But as adolescence set in, it was music that really breathed life into me. I've been in and out of bands for the last 16 years of my life. Some short lived and never to debut past the basement--and some that have gobbled up significant years of my life. And I've designed and illustrated for all of `em. Well before I knew I wanted a career in it. Me qued� en mi pueblo durante la universidad y fui a Indiana University, en el campus de Fort Wayne. Inicialmente estudi� ilustraci�n pero termin� con una licenciatura en dise�o gr�fico. Sab�a que pod�a volver a la ilustraci�n m�s tarde en mi vida pero que el arte comercial me iba a dar m�s estabilidad econ�mica. Me contrataron en una agencia de publicidad en mi tercer a�o de carrera y all� trabaj� como director art�stico hasta hace 4 a�os. En 2006 me ofrecieron trabajo en One Lucky Guitar, Inc. - una agencia humanize 40 de publicidad peque�a con un joven fundador que dedic� mucho esfuerzo en crear un ambiente apasionante y de pensamiento fuera de lo establecido entre un mundo de publicidad caduco. �Estoy afortunado de poder trabajar all� y es una suerte haberlo encontrado en el Medio Oeste! I stayed in my hometown throughout college and attended Indiana University's Fort Wayne campus. Initially studied illustration but ended up with a BFA in graphic design. I knew that illustration would be something I could come back to in my life but commercial art was going to be a more financially stable pursuit. I got a job at a local advertising agency my junior year of college and worked there as an art director until about four years ago. In 2006, I was offered a job at One Lucky Guitar, Inc. - a small design and ad shop whose young founder has worked to create this incredible environment of passion and outside-the-box thinking amidst the stale advertising world. I'm blessed to have a career there and lucky to have found it in the Midwest! Me estoy yendo por las ramas... la �poca post-universidad y pre-One Lucky Guitar me fue muy bien porque no me gustaba el trabajo que hac�a en la agencia de publicidad. Me oblig� a hacer cosas art�sticas fuera de mi carrera profesional. El trabajo en dise�o era muy predefinido por los clientes. Supongo que estaba pagando mis deberes. Pero fue en esos a�os en los que realmente hice mucho de mi trabajo personal de ilustraci�n en espacios informales. Abr� una galer�a con unos amigos y organic� eventos cada mes. Me empec� a encontrar a m� mismo en la ilustraci�n. Explor� m�todos de hacer grabados, devorando bol�grafos de tinta y botellas de cola de mod podge, y desarrollando un nivel de estilizaci�n y consistencia. No siento a�n que he llegado pero fue una temporada maravillosa. Me llen� art�sticamente porque "la vida de agencia" no me satisfac�a. I'm getting off track a bit... the time post-college/pre-One Lucky Guitar was really good for me because I didn't like the agency work I was doing. It forced me to do things artistically outside of my career. Even though I was designing there, it was all cut and dry, corporate client work. I was putting in my dues I guess. But it was during those years that I really illustrated a lot of personal work behind the scenes. I opened a gallery with some friends and curated monthly events. I started finding myself, illustratively. Exploring printing methods, devouring ink pens and bottles of mod podge, developing a level of stylization and consistency. I still don't feel like I'm there but it was a great season in the wings. Filling myself up, artistically, because the "agency life" wasn't cutting it.
Ilustraci�n para un poster de David Bazan // Illustration from a poster for David Bazan
Proyecto personal // Self-initiated project
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2. �Crees que el lugar donde te criaste fue un factor
influyente en tu trabajo? �Por qu� s� o por qu� no? // Do you think that where you grew up is an influential factor in your work? Why or why not? Estoy seguro de que s� lo fue. Hay un cierto nivel de simplicidad casi inocente en el Medio Oeste de Estados Unidos. Generaciones de gente que est� conforme con estar en el medio. Sin agitar, simplemente existiendo y siendo felices. Yo creo que retomar esas sensibilidades y usarlas como temas a veces crea algo realmente interesante. Es como un "viejo EEUU", nostalgia que contrasta con el arte contempor�neo. No creo que se desborda de mi trabajo, pero seguramente s� sea una influencia. El primer ejemplo que pens� fue una idea que se me ocurri� hace unos a�os de coger h�roes poco celebrados de Estados Unidos e ilustrarles en im�genes anagl�ficas. El primero que ilustr� fue Yakima Canutt, el doble de John Wayne. I think it was for sure. There's a certain level of almost naive simplicity in the Midwest. Generations of just being ok with being in the middle. Not making waves, just existing and being happy. I think taking those sensibilities and using them as themes creates something really interesting sometimes. Kind of an "old USA," nostalgic contrast with contemporary art. I don't think my work is bursting out of the seams with it, but it's an influence for sure. The first example I thought of was this idea I had a few years ago to take strange unsung US heroes and illustrate them as anaglyphic images. The first one I did was of John Wayne's stuntman, Yakima Canutt.
I still feel pretty self-conscious about my illustration. The years in advertising have helped me become versatile. I am often frustrated, though, that I haven't been able to have the patience to really hone in on that something that people can immediately identify as my work. With that said, here are all the folks who live at the edge my brain and come to my mind first: Mary Blair, Jim Flora, Alvin Lustig, Chris Ware, Charley Harper, Daniel Clowes, Chip Kidd, Paul Rand..
4. Mirando tu trabajo en Internet, parece que eres un artista
polifac�tico: ilustraci�n, una gama amplia de dise�o, e incluso una combinaci�n interactiva con tu proyecto personal de Twitter, David Lynch. �Es posible definir tu trabajo? �C�mo lo har�as? // From looking at your work online, you're a very versatile artists, working in illustration, a wide range of design, and even an interactive combination with your personal David Lynch Twitter project. Is it possible to define your work? How would you do so? Yo lo agradezco, gracias. Y me parece gracioso, acabo de decir que ser polifac�tico me parece una desventaja. Jaja. Intentando concentrarme en una est�tica... hm. Me gusta hacer trabajo estilizado y geom�trico. Muchas veces vectorial. Pero me parece que muchas veces acaba siendo manchado de tinta. O la ejecuci�n de esas ideas estilizadas y simples acaba incorporando muchos elementos dibujados a mano, texturas escaneadas, m�todos de pincel y grabado. Quiero decirte que mi ilustraci�n se presta a libros infantiles de mediados del siglo pasado y que mi dise�o es limpio y geom�trico. Pero eso es en verdad donde quisiera estar. I appreciate that, thank you.. that's funny too, having just said versatility feels like a downside to me. haha. Trying to hone in on one aesthetic...hm. I love working very stylized and geometric. Often vector. But it seems that I more frequently end up very "inky." Or the execution of those simple, stylized ideas end up incorporating lots of hand-drawn elements, scanned in textures, brushes and printed methods. I want to tell you that my illustration lends itself to mid-century children's books and my design is clean and geometric. But that's just where I wish I was.
3.�Hay ilustradores o dise�adores que te influenciaron
personalmente o profesionalmente? // Do you have any specific illustrators and/or designers that have directly influenced you and/or your work? Todav�a me siento un poco inseguro respecto a la ilustraci�n. Mis a�os trabajando en la publicidad me ayudaron a ser polifac�tico. Aun as�, muchas veces me frustro, por no tener la paciencia para concentrarme de verdad en algo que la gente pudiera identificar inmediatamente como mi trabajo. Eso dicho, la gente que vive en el borde de mi cerebro y me vienen a la mente primero son: Mary Blair, Jim Flora, Alvin Lustig, Chris Ware, Charley Harper, Daniel Clowes, Chip Kidd, Paul Rand...
Proyecto personal llamado "Anaglyphic History of the America // Self-initiated project called "An Anaglyphic History of the America"
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Ilustraci�n del packaging para "Loosen the bands" de Metavari // Illustration from the packaging for "Loosen the Bands" by Metavari
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Ilustraci�n del packaging para "Be One of Us and Hear No Noise" de Metavari // Illustration from the packaging for "Be One of Us and Hear No Noise" by Metavari
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Izquierda // Left: Para For Ferocious Quarterly No.1 / ilustraci�n que acompa�a una historia de Matt Beers llamada "In the Shadow of The Standard and Hope" // For Ferocious Quarterly No.1 / companion to a story by Matt Beers called "In the Shadow of The Standard and Hope"
Derecha // Right: Ilustraci�n para un postor para El Ten Eelevn // Illustration from a poster for El Ten Eleven
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Portada para "Got to Get a Message to You" // Cover art for "Got to Get a Message to You" Wildflower Records compilation
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Parte de ilustraciones del packaging de "Loosen the Bands" de Metavari // Sections of an illustration from the packaging for "Loosen the Bands" by Metavari
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5. Cu�ntanos de otros proyectos en los que participas, como
Ferocious Quarterly (por cierto, �incre�ble!), y otros proyectos. // Tell us about the other projects your involved in, such as Ferocious Quarterly (amazing, by the way!), and other projects. ��Much�simas gracias!! S�, el proyecto m�s grande en el que particip� este a�o fue la concepci�n y el lanzamiento de Ferocious Quarterly. En resumen ahorr� mucho dinero y contact� con un buen n�mero de mis ilustradores y escritores de ficci�n favoritos para ver si quer�an contribuir con su trabajo para una colecci�n que estaba organizando. Respondieron 31 personas y publiqu� el libro. Ahora unos meses despu�s acabamos de terminar el segundo libro - esta vez todo el trabajo se hizo exclusivamente para Ferocious. Colaboraciones de 44 artistas y 10 ilustradores/ escritores. Qui�n sabe a d�nde ir�, pero hemos tenido suficiente suerte y nos han destacado en varios sitios web y blogs bastante admirables. Aunque no estamos pidiendo dinero exactamente... se sostiene s�lo. Y eso es todo lo que podemos pedir. Thanks so much!! Yeah, the biggest thing I've been involved in this year was the conception and launch of Ferocious Quarterly. In a nutshell, I saved a bunch of money and contacted a number my favorite illustrations and short fiction writers to see if they'd wanna contribute work for a collection I was curating. 31 folks responded and I printed the book. Now a few months later, we've just actually finished the second book - this time all work created just for Ferocious. 44 artists and 10 illustrator/writer collaborations. Who knows where it'll go, but we've been fortunate enough to be featured on some really admirable websites and blogs. Even though we aren't exactly making money... it's sustaining itself. And that's all we can ask for. La otra bestia en mi vida es mi banda de m�sica, Metavari. Hemos tenido mucha suerte por estar incluidos en los rosters de Crossroads of America Records en EEUU y Friend of Mine Records en Jap�n. Toco los Fender Rhodes y hago todo el muestreo y programaci�n. Entre estar de gira con Metavari, organizar Ferocious, y todas las ilustraciones sueltas, lo poco que queda lo dedico a mi Masi Randonneur o en mi chica. Tiene que tratar con un adicto al trabajo y yo se lo agradezco mucho, jaja. The other beast in my life is my band, Metavari. We've been really lucky to be able to join the rosters of Crossroads of America Records in the US and Friend of Mine Records in Japan. I play the Fender Rhodes and do all the digital sampling and programming. Between touring in Metavari, managing Ferocious and all the odds and ends illustrations, what little is left is spent on my Masi Randonneur or with my gal. She's got quite the workaholic on her hands and I love her for it. haha
encargados para publicar en la web. Parece que tendremos una historia/art�culo cada semana en el 2011 en la web de Ferocious. I love working as an art director at One Lucky Guitar, Inc. I think I'll be here as long as they'll have me. I'd love to start getting more serious about my illustration, though, and even pursue some more editorial work. I've only had a glimpse of that in my freelance career and I really love editorial illustration. 2011 will commence a targeted pursuit of work in some online and printed magazines. I've got three printed books in the works for Ferocious in 2011 and a some commissioned, written work for our online features. Looks like we'll almost have one story/article each week in 2011 for the online features on Ferocious.
7. �En qu� otros proyectos est�s trabajando actualmente? //
What other projects are you currently working on? Tengo algunos proyectos divertidos en camino que est�n relacionados con la ilustraci�n. Una ilustraci�n fuera de serie que hago como invitado para el "Picture Book Report" de Meg Hunt (estoy trabajando en una escena de Dune de Frank Herbert); un fondo de pantalla para The Fox is Black de Bobby Solomon, "Desktop Wallpaper Project"; me invitaron a ilustrar el lema estatal del Kentucky para el proyecto de lemas estatales "50 and 50" de Dan Cassaro; e ilustraciones para la colecci�n juvenil de 2011 en Matilda Jane. Adem�s, acabo de descubrir hoy que estar� organizando la "Collection No.2" de Poogla del programa de fondo de pantalla de iPhone/ iPad en la tienda de programas de Apple. El impresionante ilustrador dan�s, Luis Mendo, hizo el primero as� que me siento muy afortunado de que me hayan considerado para hacer el segundo. I've got a few fun illustration related projects down the pike. A one-off, guest illustration for Meg Hunt's "Picture Book Report" (I'm doing a scene from Frank Herbert's Dune); a wallpaper for The Fox is Black, Bobby Solomon's "Desktop Wallpaper Project;" I was invited to illustrate Kentucky's state motto for Dan Cassaro's "50 and 50" state mottos project; and illustrations for the 2011 youth collection at Matilda Jane. I also just found out today that I'll be curating Poolga's "Collection No.2" for their iPhone/iPad wallpaper app on Apple's app store. The outstanding Danish illustrator, Luis Mendo, did the first one so I'm really honored to have even been considered for the second. Puedes ver la obra de Nate en // You can see Nate's work at: www.nateutesch.com Tambi�n puedes ver Ferocious Quarterly en // You can also take a look at Ferocious Quarterly: fe.rocious.com
6. �C�mo ves tu futuro como ilustrador y dise�ador? // How
do you see your future as an illustrator and designer? Me encanta trabajar como director art�stico en One Lucky Guitar, Inc. Creo que estar� aqu� todo el tiempo que me dejen. Aun as�, me gustar�a dedicarme m�s a la ilustraci�n y perseguir m�s trabajo editorial. Apenas lo he podido saborear en mi trabajo de freelance y me encant� la ilustraci�n editorial. 2011 comenzar� con la b�squeda concentrada de trabajo en revistas impresas y online. Tengo tres libros impresos en proceso para Ferocious en 2011 y algunos trabajos humanize 54
Javier Chavarr�a
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Por // By: F�tima Rodr�guez
La muerte de un poeta siempre es una tragedia, pero �sta es a�n mayor si resulta que �l era una de las grandes voces cr�ticas de una sociedad decadente. �ste es el leit motiv de la �ltima exposici�n del artista Javier Chavarr�a, Hanno Ucciso, un poeta. Una muestra que intenta hacernos pensar sobre nuestro presente y futuro, y pretende que reflexionemos sobre hacia d�nde vamos. The death of a poet is always a tragedy, but this is even greater if he was one of the greatest critics of a decadent society. This is the leit motiv from the last exhibition of the artist Javier Chavarr�a, Hanno Ucciso, Un Poeta. An exhibition that tries to make us think about our present and future, and it intends to make us reflect on where we are going. Javier Chavarr�a se inspira en una de las figuras claves tanto del mundo del arte como del pensamiento cr�tico del siglo XX: Pier Paolo Pasolini. Aunque la mayor�a de la gente lo conoce por su faceta de director de cine, el artista italiano tambi�n escrib�a: sus art�culos de opini�n ten�an renombre en Italia, y tambi�n escrib�a poemas, aunque su faceta de poeta no era demasiado conocida. A lo largo de la vida se caracteriz� por ser uno de los personajes m�s pol�micos de Italia, hecho que culmin� en su estremecedor asesinato. Precisamente la emoci�n de su entierro fue lo que inspir� a Javier Chavarr�a: "Por casualidad vi en YouTube un v�deo del funeral de Pasolini. En el v�deo aparec�a Alberto Moravia, que tambi�n era escritor y un gran amigo del poeta. Ante cientos de personas hizo una intervenci�n muy emotiva, y en un momento dijo "Han matado a un poeta". �l intent� cargar el sentido en eso: la p�rdida de cualquier persona es un drama, y m�s cuando se produce en unas circunstancias violentas como en un asesinato. Pero tambi�n habla de intolerancia, de no escuchar a los dem�s. El hecho de que esa persona tambi�n fuera un poeta era algo tremendamente importante para Moravia, porque �cu�ntos poetas hay en una generaci�n con una conciencia despierta y que puedan alertar a la sociedad sobre si se est� equivocando? El poeta no es s�lo una persona que rima versos, es alguien de utilidad p�blica para la sociedad. �se es el drama de asesinar a un poeta". Javier Chavarria was inspired by one of the most important figures of the world of art and critical thinking of the 20th century: Pier Paolo Pasolini. Although most people know him for his work as a film director, the Italian artist used to write too. His opinion articles were well known in Italy and he also wrote poems, although his role as a poet was not known. During his life he was one of the most controversial characters of Italy, a fact that culminated in his shocking murder. The emotion that was present during his funeral was what inspired Javier Chavarria: "I happened to watch a video on YouTube about Pasolini's funeral. Alberto Moravia appeared in the video, who was a writer and a great friend of the poet. In front of hundreds of people he made a very emotional speech and at one point he said, "They killed a poet." He tried to mean that the loss of anyone is a tragedy, especially when it occurs in violent circumstances, like a murder. But it also speaks about intolerance, about not listening to others. The fact that this person was also a poet was something tremendously important to Moravia, because how many poets have a generation with awareness and who can alert society about whether people are mistaken? The poet is not only a person who can rhyme verses, he is someone with a public interest to society. This is the drama of murdering a poet."
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La muerte de Pasolini no s�lo conmocion� a la sociedad de la �poca, sino que fue una gran p�rdida para la humanidad en general. Al menos eso es lo que opina Javier, ya que Pasolini fue una de las voces m�s cr�ticas de su tiempo, alguien que se atrev�a a cuestionar a la Iglesia, los comunistas y a la derecha. Incluso se atrevi� a atacar la revoluci�n del 68, calific�ndolos como ni�os de pap� ricos que jugaban a hacer la revoluci�n tirando piedras a los polic�as, cuando precisamente los gendarmes eran los obreros a los que hab�a que entregar rosas en vez de apedrear. Chavarr�a se inspira en el pensamiento revolucionario de Pasolini a la hora de crear Hanno Ucciso, un poeta: "Han matado a un poeta es algo que hab�a que decir muy alto para que todo el mundo se enterara, as� que pens� en algo as� como poner una pancarta en un castillo. De ah� naci� la idea, y pens� en usar los espacios p�blicos de la sociedad para expresar lo que se piensa. Pasolini siempre hablaba de tolerancia, de la permeabilidad de las ideas". Pasolini's death not only shocked the society at the time, it was a great loss to humanity in general. That's what Javier says, because Pasolini was one of the harshest critics of his time, someone who dared to question the Catholic Church, the Communists and the right wing. He even dared to attack the revolution of `68, calling it `rich daddy kids playing to make the revolution by throwing rocks at policemen, when gendarmes precisely were those workers who had to deliver roses instead of stones.' Chavarria was inspired by Pasolini's revolutionary thought at the time of creating Hanno Ucciso, A Poet. "They Killed A Poet is something I had to say out loud for the whole world, so I thought something like putting a banner in a castle. That is where the idea came from and I thought to use the public spaces of society to express what people think. Pasolini always spoke of tolerance, about the permeability of ideas." Cuando entras en la sala de la exposici�n, lo primero que llama la atenci�n son unas letras gigantes que rezan "Han matado a un poeta". Son de un rojo intenso que en su dise�o intentan imitar a los grandes carteles de ne�n de Broadway. Chavarr�a lo explica: "El cartel grande se podr�a colocar en el campo, al lado de los edificios, etc. La idea ser�a ocupar las azoteas, los balcones libres y que no son de nadie. Las letras recuerdan a los neones de espect�culos estilo Broadway. De ah� surge otra idea: la de la sociedad que s�lo busca la diversi�n, que no quiere un discurso que le obligue a pensar, sino que s�lo quiere divertirse y olvidarse de la realidad. As� usamos un lenguaje parecido al publicitario, porque ante la publicidad somos muy receptivos. Lo mismo nos pasa con el cine. Se trata de usar esos medios para contar otras cosas, para evitar que los ciudadanos sigan siendo gente que no piensan en nada". When you enter the showroom, the first thing that attracts your attention is some giant letters when we can read "They killed a poet." They had bright red design that tries to imitate the big neon lights of Broadway. Chavarr�a explains it: "The big sign could be placed on the field, next to buildings, etc... The idea would be to occupy the roofs, the free balconies that don't belong to nobody. The letters are reminiscent of the neon Broadway-style shows. This is another idea: a society that
doesn't want a speech that force them to think, but just want to have fun and forget reality. So we use a language similar to advertising, because we are very receptive to advertising. The same thing happens with movies. It's about using the media to tell other things, to avoid that citizens remain people who do not think in anything." Uno de los dibujos estrella es una estanter�a vac�a, en la que s�lo hay un papel en el se puede leer la frase Sapere Aude. Chavarr�a nos cuenta el significado de esta frase en lat�n: "Sapere aude es una m�xima latina que se traduce como Atr�vete a saber. En este caso, ser�a para que veamos m�s all� del mundo que nos rodea y nos creamos una conciencia social. es una exhortaci�n, como para decir `Toma partido'. As� puedes intentar cambiar la sociedad y mejorarla". Las frases contin�an en la pizarra donde leemos la inquietante frases Todos "Estamos En Peligro": "Aqu� vuelvo a utilizar los espacios p�blicos, como la pizarra de un restaurante. M�s abajo se recoge una frase que dijo el propio Pasolini el mismo d�a que muri�: `Todos estamos en peligro'. Esto lo dijo esa ma�ana, en una entrevista que le hicieron, cuando hablaba de la mecanizaci�n de la soledad y de la p�rdida de los valores morales y �ticos. Esa frase se la recomend� al periodista como t�tulo del art�culo. Y se trata de una frase premonitoria, porque se fue a cenar y luego lo mataron". One of the most important drawings is an empty shelf, where there is only one paper with a sentence where we can read Sapere Aude. Chavarria tells us the meaning of this Latin phrase, "Sapere Aude is a Latin maxim that we can translate as Dare To Know. In this case, it would be for us to see beyond the world around us so we create a social conscience. It is an exhortation, as to say `Take the match!' So you can try to change society and improve it." The phrases are still on the board where we read the others that were more disturbing, such as, "We Are All In Danger,": "Here I use public spaces again, such as a blackboard from a restaurant. Below, it contains a phrase that Pasolini said on the day that he died, `We are all in danger.' He said it during an interview he did that morning, when he spoke about the mechanization of loneliness and loss of moral and ethical values. He recommended that the journalist make that phrase the headline of the article. And it was a premonition, because he went to dinner and then they killed him."
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Salvo en uno, en todos los cuadros hay frases o letras, algo que hace referencia a la importancia que se le da al lenguaje como forma de exhortaci�n y/o manipulaci�n. Aparte de la repetici�n de `Han matado a un poeta', podemos leer otros dibujos que muestran carteles con frases como `Lucha'. El artista nos explica, "En este cartel pone Lucha, y hace referencia a cuando Pasolini se hab�a enfrentado a tanta gente al final de su vida: a la Iglesia, a los comunistas, a la derecha.... Le preguntaron si merec�a la pena seguir as� despu�s de tantos disgustos, a lo que �l respondi� que la pregunta era si merec�a la pena la lucha. �Es verdad que la sociedad avanza a pesar de todo, o no sirve de nada luchar? A lo mejor simplemente intentarlo merece la pena". All of the tables have phrases or letters, except one, which refers to the importance given to language as a form of exhortation and/or manipulation. Apart from the repetition of "They Killed A Poet," we can read other drawings that show signs with phrases like "Fight". The artist explains, "This sign says "Fight", and makes reference to the idea that Pasolini had faced so many people at the end of his life: the Church, Communists, the right wing.... He was asked whether it was well worth following after all these troubles and he replied that the question was whether it was worth the fight. Is it true that society progresses despite everything, or was it not worth the fight? Maybe just trying makes it worth it." En una sociedad cada vez m�s consumista y menos preocupada por los valores �ticos, es dif�cil ser honesto y vivir de algo tan voluble y dif�cil como el arte. Algo que Javier Chavarr�a conoce muy bien, pero a�n as� este panorama no le desanima, sino todo lo contrario: "Este proyecto art�stica es altruista y apenas da beneficios econ�micos, pero a�n as� lo har�a porque pienso que esto es lo que puedo aportar. Incluso dentro del arte, la acuarela por ejemplo se ve como una t�cnica sencilla y naif, pero con ella tambi�n se pueden transmitir mensajes muy fuertes. El ganar m�s o menos dinero no debe ser el argumento que te anime a seguir hacia adelante". Adem�s, es de ese tipo de personas que considera el arte algo m�s grande que la vida, o al menos
algo m�s que un simple cuadro bonito: "Creo que el arte es relacional: entre la persona y la obra se establece un v�nculo, y cada uno establece el suyo. La persona que se ha decidido a comprar un dibujo lo hace porque le est� transmitiendo una paz o una alegr�a que va m�s all� de lo que haya incluido en la obra". In an increasingly consumerist society that is less concerned about ethical values, it is difficult to be honest and live on something so fickle and difficult as art. Javier Chavarria feels this is all too familiar, but this situation does not discourage him, but rather the opposite: "This project is altruistic and it doesn't give any economic benefit, but I would do this again because this is how I can contribute. Even in art, in watercolor , for instance, is such a simple technique, but it can also spread very strong messages. To earn more or less money should not be what encourages you to go forward." Moreover, he is a person who considers art to be something larger than life, or at least something more than a beautiful picture. "I think art is relational: a bond is made between the person and work. The person who has decided to buy a picture does it because the drawing transmits peace or joy, something that goes beyond what has been included in the work." De momento, Javier Chavarr�a sigue dibujando y trabajando en un proyecto a largo plazo, aunque se muestra optimista de cara al futuro, o al menos animado. Aunque es verdad que el mundo es como es, tener a gente que a�n cree en la humanidad es algo alentador. Ojal� hubiera m�s poetas vivos. For now, Javier Chavarria continues to draw and work on a long-term project, but he is optimistic for the future, or at least lively about it. Despite the fact that the world is the way it is, to know people who still believe in humanity is something encouraging. If only we had more living poets.
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JOSE LUIS �BALO
Antiguo pero funcional Old But Functional
Por // By: Karla D. Romero
Nacido en Caracas, Venezuela en 1959, Jos� Luis Abalo Abalo nos transporta en este reportaje a uno de los desastres ecol�gicos m�s destructivos de la historia de Espa�a. El desastre del Prestige. Born in Caracas, Venezuela in 1959, Jos� Luis Abalo Abalo transports us to one of the most destructive environmental disasters in Spanish history. The Prestige oil spill. Su pasi�n hacia la fotograf�a naci� en 1983, cuando conoci� a un fot�grafo. Empez� sacando fotos con una Nikon y aunque dice que no le parece importante la c�mara, ha evolucionado y actualmente trabaja con una Hasselblad. His passion for photography began in 1983, when he met a photographer. He began taking pictures with a Nikon and although he says that the camera is not important, he has evolves and currently works with a Hasselblad.
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�Tienes algunas influencias especificas dentro del mundo de la fotograf�a? // Do you have specific photographic influences? Despu�s de una peque�a etapa de autodidactismo, me forme con un conocido fot�grafo Venezolano, Jos� Alirio Sigala, que a su vez se hab�a formado el los Estados Unidos. Desde casi el primer d�a, este hombre nos mostr� la obra de los grandes Maestros Norteamericanos. Por otra parte siempre me intereso el trabajo de los fot�grafos Latinoamericanos, por lo que a pesar de los 24 a�os que llevo viviendo en Espa�a, sigo pensando que mi trabajo es mucho m�s "Americano" que "Europeo". Si tuviera que nombrar a una figura clave dentro de mis influencias fotogr�ficas, esta ser�a sin la menor duda, Lee Friedlander. After a short period of self-teaching, I began to study under Jos� Alirio Sigala, a well-know Venezuelan photographer, who had studied in the United States. Almost from day one, this man showed us the work of the great American masters. On the other hand, I'd always been interested in the work of Latin American photographers, and despite living in Spain for 24 years, I still feel that my work is a lot more "American" than "European." If I had to name a single key within my photographic influences, it would be without a doubt Lee Friedlander. �Cu�l es tu tema favorito para fotografiar? // What's your favorite theme to photograph? La gente. Esto tiene que ver con lo que expuse en la pregunta anterior, aunque me interesan y he fotografiado un sin numero de temas distintos. El �nico que quiz�s permanece in�dito en mi trabajo, es la naturaleza. People. This has to do with what I said in the previous answer, although I'm interested and have photograph numerous other topics. The only one that perhaps remains untouched is nature. Viendo tus fotos, hemos observado que tiendes a hacer muchos retratos. �Cu�les son las razones por hacer este tipo de fotograf�a? // Looking through your photographs, we've observed that you take many portraits. What are the reasons behind doing this type of photography? Soy una persona muy t�mida y es el retrato el que me permite establecer una relaci�n (en ocasiones, de pocos segundos) con mis cong�neres. Me obliga a comunicarme y me ayuda a vencer mi timidez. I'm a very shy person and portraits allow me to establish relationships (on occasions, for a few seconds) with those around me. It makes me communicate and helps me beat my shyness. �Por qu� optas por la fotograf�a en blanco y negro? // Why do you choose to shoot in black and white? Cuando comenc�, se dec�a que el blanco y negro siempre era el inicio para pasar luego al color. Est� claro que me qued� en la salida. Lo que sucede es que me gusta mucho el proceso de laboratorio (revelado y copiado) y en color este proceso era francamente complicado. Con el paso de los a�os he logrado adaptar mi trabajo y mi metodolog�a, con lo cual nunca me he visto en la necesidad de utilizar el color. Alguna vez me he preguntado si alguno de mis trabajos hubieran funcionado mejor en color, pero nunca he pasado de ah�. When I started, it was said that black and white was the beginning before moving on to color. It's obvious I got stuck. The thing is I love the lab process (developing and copying) and in color this process is very difficult. As time has passed I've been able to adapt my work and methodology, in which I've never found it necessary to use color. Sometimes I ask myself if some of my work would have turned out better in color, but it's never gone past that.
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Usas material anal�gico en una edad dominada por lo digital. �Cu�les crees que son las diferencias m�s importantes entre la fotograf�a anal�gica y la digital? // You use analog material in a age dominated by digital technology. What do you think are the most important differences between analog and digital photography? Para mi, existe una diferencia, que en mi caso en particular, define, seg�n mi criterio, el hecho de que nos encontramos antes dos cosas completamente distintas. La fotograf�a anal�gica se toca, se huele, se siente. Produce sensaciones en el momento de su creaci�n. Despu�s de tantos a�os, me sigue maravillando lo que siento al meter la mano en el revelador, al oler el fijador, al colgar las copias a secar y al plancharlas finalmente el la prensa de calor. Nada de esto sucede con la fotograf�a digital. Coger una vieja caja de papel fotogr�fico donde tienes guardadas tus copias y examinarlas toc�ndolas una a una, no tiene nada que ver con abrir una carpeta en el ordenador y ver unas fotos en "pantalla". For me, there is a difference which in my case defines, according to my criteria, the fact that we're facing two completely different things. You can touch, smell and fell analog photography. It produces emotions in the act of its creation. After so many years, I'm still amazed at what I feel when I stick my hand inside developer when I smell fixative, when I hang copies to dry and when I iron them at the end. None of this takes place with digital photography. To get an old box of photographic paper where you stored copies and to examine them by touching them, one by one, is nothing like opening a folder on a computer and to see some photographs on the screen of your computer. �Crees que va a desaparecer la fotograf�a anal�gica? �Qu� significar�a esto para ti? Y en tu opini�n, c�mo afectar�a esto a la fotograf�a? // Do you think analog photography is going to disappear? What would that mean for you? In your opinion, how would this affect photography in general? La informaci�n que tengo (y que espero, sea acertada), es que no solo no desaparecer�, sino que adem�s, en ciertos �mbitos, se esta produciendo un retorno a lo anal�gico. Por el momento y en contra de la opini�n de algunos, yo no estoy teniendo excesivos problemas para comprar pel�cula, papel y qu�micos. Si se diera el caso, no creo que la desaparici�n de lo anal�gico afectara de modo significativo al "Hecho Fotogr�fico". De todos es conocida nuestra gran capacidad de adaptaci�n. El �nico inconveniente ser�a, a mi juicio (aunque esto ya esta sucediendo actualmente), es que el n�mero de fotos existentes se multiplicar�a por cientos de millones, lo que hace y har�a aun m�s dif�cil diferenciar lo bueno, lo mediocre y lo malo. What I know (and I hope I'm right) is that not only is it not going to disappear, but also that in certain sectors, a triumphant return of analog photography is taking place. For the time being and contrary to what some people are saying, I'm not having a hard time finding film, paper and chemicals. If it were the case, I don't think that the disappearance of analog photography would significantly affect the overall existence of photography. We're all known for our great ability to adapt. The only inconvenient factor would be, to my judgment (although this is already happening), that the number of existing photographs would multiply by billions, which would make it even more difficult to differentiate the good, the mediocre and the bad.
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Cu�ntanos como llegaste a fotografiar el desastre del Prestige. // Tell us how you came across and photographed the Prestige oil spill disaster. Como todo ciudadano Espa�ol durante aquellos d�as, segu� la noticia, primero de la aver�a del barco y finalmente de su hundimiento. En un primer momento no considere necesario hacer un trabajo sobre el tema, porque ya hab�a un sin numero de fot�grafos documentando el acontecimiento. Tambi�n a mi, como a muchos Espa�oles, me sorprendi� la respuesta de miles y miles de voluntarios que de forma casi autom�tica se lanzaron a las playas para contribuir en la limpieza. Me llamo la atenci�n que en las im�genes de prensa y televisi�n, estos voluntarios siempre eran mostrados como una masa uniforme dentro de sus trajes blancos y pens� que era necesario ponerle cara, aunque solo fuera a un peque�o n�mero de ellos (624 en total). Like every other person living in Spain during those days, I followed the news, first regarding the shipwreck and finally when it sank. At first I didn't think it was necessary to do project out of the disaster, since there were already so many other people documenting the incident with their cameras. I was shocked, as were many other Spaniards, at the thousands upon thousands of volunteers that launched themselves onto the beach to clean it. I found it interesting that in the news, these volunteers were shown as a huge, singular mass in their white suits and I thought that it was necessary to give them a face, even if it was just a small number of them (there were 624 total). �Qu� fue lo que m�s te impact� durante el tiempo que fotografiaste el desastre? // What impacted you the most about the spill? La solidaridad que manifestaban cada una de las personas que estaban luchando contra el desastre. Quiero y debo aclarar que esta solidaridad se manifestaba no solo en el trabajo de limpieza, si no en todo lo que rode� la tragedia. Gracias a ello fue muy f�cil para mi realizar el trabajo. Eran conscientes de la necesidad de documentar lo que suced�a. Y de 626 personas a las que le ped� que posaran para una foto, solo 2 se negaron. The solidarity manifested by each of the people that were fighting against this disaster. I want and I should clarify that this solidarity was not only manifested in the cleaning, but in every aspect that surrounded the tragedy. Thanks to this, it was very easy for me to do my job. They were aware of the fact that it was necessary to document what was happening. And of the 626 people I asked to pose for a single picture, only two said no. �Qu� prop�sito crees que tiene la fotograf�a que capta situaciones como la de el Prestige? // What purpose do you think this type of photography serves? El prop�sito, sin duda es mostrar y concienciar. Lamentablemente, hechos de este tipo se producen con demasiada frecuencia y lo que estamos logrando es precisamente el efecto contrario, es decir, indiferencia y cansancio. En este punto tengo que decir que la actitud de algunos fot�grafos, verdaderos especialistas en cat�strofes, guerras, hambrunas, etc., no ha contribuido en absoluto. Todos conocemos casos en que �ste tipo de acontecimientos se han convertido en aut�nticos "Talleres de Fotograf�a". El conflicto �tnico de Ruanda, sin ir mas lejos. The purpose is, without a doubt, to show and make others conscious. Unfortunately, incidents such as this one happen too often and what we're trying to do is exactly the opposite. I mean, indifference and tiredness. On this note, I must say that some photographers' attitudes, true specialists in catastrophes, wars, famine, etc., hasn't contributed at all. We all know of cases like these that have resulted in "photography workshops." The ethnic conflict in Rwanda is a clear example.
Si pudieras fotografiar cualquier cosa (persona, evento, etc.), �qu� ser�a y por qu�? // If you could photography anything (a person, an event, etc.), what would it be and why? En este momento y despu�s de realizar durante 24 a�os un trabajo bastante intensivo en Galicia, lo que desear�a ser�a tener m�s tiempo y recursos para viajar y fotografiar otras realidades. Pero seguir�a manteniendo mas o menos mi estilo e interes�ndome por mi tema favorito. La gente. At the moment and after working in a very intensive job in Galicia for the last 24 years, what I would love is to have more time and resources to travel and photograph other realities. But I would maintain my style, more or less, always interested in my favorite topic. People. �C�mo definir�as tu estilo fotogr�fico? // How would you definte your photographic style? Antiguo pero funcional. Old but functional. humanize 77
Josef Karolys
Traducci�n // Translation: Ana Mingot
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LIBERTAD
Creo en la libertad de los ni�os que juegan, la que se pierde en la adolescencia; no creo en la libertad escrita del "mayor de edad". No creo que sea libre quien elige su trabajo, no encuentro libertad en el in�til jubilado. No encuentro libertad en el suicida, en el vicioso, en el enamorado, en el estudiante obligado a ser lo que es. No creo en la libertad del fugitivo, no creo en la libertad de quienes creen decidir. No hay para m� libertad francesa, ateniense, o norteamericana; �Cu�l libertad de Hobbes, de Voltaire, del Marqu�s de Sade? Somos esclavos todos: desde Eva hasta Lucifer. La prisi�n se llama "yo", prisi�n perfecta, de ilusiones, deseos y pecados capitales; prisi�n en la que nadie sabe que est� interno: jaula que se lleva a todas partes. Creo en la libertad de aquel que siempre es libre, as� se encuentre encadenado; libre de la muerte, del paso del tiempo; libertad de los nacidos de mujer, muertos una sola vez, que despu�s nacen del viento.
FREEDOM
I believe in the freedom Of children playing, the one lost in adolescence; I don't believe in the written freedom of adulthood. I don't think he's free the one that chooses his job I don't find freedom in the useless senior. I don't find freedom in the suicide victim in the vicious one in the person in love in the obliged student to be what he is. I don't believe in the freedom of the fugitive, I don't believe in the freedom of those that believe they decide. There isn't for me French freedom Athenian, Or North American; The freedom of Hobbes, Voltaire, Marquis de Sade? We are all slaves: from Eve to Lucifer. The prison is called "I", perfect prison, of illusions, desires and capital sins; Prison in which nobody knows that they're confined: cage one takes everywhere. I believe in the freedom of the one that is always free, even if he finds himself chained; Free of death and the passage of time; The freedom of those born from women, only dead once and then born to the wind.
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taN siquiera uNa palabra Not eveN aN utterer
Esta ma�ana me levant�, y un pensamiento me daba vueltas; no s� por qu�, pero la idea de que cada d�a podr�a ser el �ltimo me despierta en cada despertar, y me recuerda que una noche, tal vez en a�os, el mes entrante o ahora mismo, caer� dormido para siempre y jam�s tendr� que madrugar. Pasaba por aqu� y te vi sentada, entonces me dije: "si en una noche todo termina, nunca me perdonar� haber pasado por la vida, y no haberle dicho tan siquiera una palabra...". This morning I woke up, And a thought kept going through my head; Not sure why, But the idea that each day could be the last Wakes me every time I awake And reminds me that one night Maybe years from now, Next month Or right now, I will fall asleep forever And never again will I have to wake up early. I was passing by and I saw you sitting there, So I said to myself: "if one night everything ends, I'll never forgive myself for having gone through life without even uttering a word to you, sitting there..."
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El buitrE
Cada ma�ana me esperas en la baranda de mi cama, con tus ojos l�nguidos, tu silencio espectral; me vigilas en la noche en un rinc�n de mi cuarto, con tu mirada de Caronte, y el llamado dulce de tus alas. En las tardes grises te posas en mi hombro; el llanto de un viejo me recuerda tu existencia... Buitre, buitre negro, que despliegas tu vuelo sobre las monta�as, reg�lame m�s sonrisas cuando te vea jugar. El luto de tus plumas cava un poco mi tumba cada d�a, bajo el peso lento de tu espera. Y en un atardecer volar�s desde mi cama, hasta mi lapida h�meda por la lluvia de invierno que cae; y volaremos juntos hacia el sol que corre a otras b�squedas, m�s all�, entre las nubes p�lidas de la noche marchita. Entonces ser�s el guardi�n de mi recuerdo...
thE vulturE
Each morning you waited for me by the side of my bed, with your languid eyes, your spectral silence; Watching over me at night in a corner of the room, with your Caronte stare, and the so-called sweet of your wings. In gray afternoons you lean on my shoulder; the wail of an old man reminds me of your existence... Vulture, black vulture, you spread out your flight over the mountains, give me the gift of more smiles When I see you playing. The mourning of your feathers Digs a bit my tomb Each day Under the slow weight of your delay. And one evening you'll fly from my bed To my humid gravestone through the falling winter rain; and we'll fly together towards the sun that runs to other pursuits beyond, between the pale clouds of the withered night. And then you will be the guardian of my memories...
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Hijos de la posmodernidad
Hijos de la posmodernidad Hijos de la posmodernidad, engendros de la era del desencanto y la ausencia de utop�as, v�stagos del caos individual; asesinos y suicidas de las causas perdidas. Sociedad ebullente, sociedad hu�rfana, sociedad an�rquica, sociedad adolescente, generaci�n del minuto presente dirigida por botones, procesadores y hormonas. Sociedad digital, prisionera del deseo, emancipada de la causa y del efecto, sociedad esc�ptica: Sin Ciencia, sin Dios, sin Ley, �Sociedad de la inconsciencia! Ya el pasado se olvid�, el futuro ser� historia, cuando llegue, ya veremos... mientras tanto, �qu� importa? Vive r�pido, muere joven, eso es real, ahora mismo, lo dem�s son ilusiones: sucumbe todo a la verdad de la muerte y de la eterna inexistencia, abismo en el que todos caeremos, inevitable, inevitablemente. Entr�gale las riendas al caballo, deja que la m�sica te saque a bailar; enga�a el hambre y el dolor con explosiones qu�micas y humos de colores, cons�mete hasta no dar m�s. �Qu� importa? �Qui�n se dar� cuenta? �Qui�n lo notar�? Conecta tu mente a un cable cuando te espante el silencio, perf�rate el cuerpo, dale gusto, modif�calo; �mutila desde ahora a sus futuros hijos, manda a la mierda tu intimidad; vu�lvete el show para el que le d� la puta gana de mirarte! Volumen al sintetizador: no te enamores, no extra�es absolutamente a nadie, rompe la barrera del exceso, ah�gate en oc�anos furiosos, contaminados por turbulencias, adrenalina, por sobredosis; Hijos de la posmodernidad, engendros de la era del desencanto y la ausencia de utop�as, v�stagos del caos individual; asesinos y suicidas de las causas perdidas! ��Qu� importa ya?!
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Postmodern Children
Postmodern children, offspring of the era of disenchantment and absence of utopias, spawn of individual chaos; killers and suicides, of lost causes. Overflowing society orphaned society anarchic society adolescent society generation of the present minute led by buttons, processors and hormones. Digital society, prisoner of lust, emancipated from the cause and effect, skeptical society: without Science, without God without Law, Society of unconsciousness! The past is already forgotten, The future will be history, When it gets here, then we'll see... Meanwhile, who cares? Live fast, Die young that is real, right now, the rest is only illusions: Surrender everything to the truth of death and the eternal non-existence, abyss into which we'll all fall, inevitable, inevitably. Hand over the reins to the horse Let the music ask you to dance; Deceive hunger and pain With chemical explosions and colored smokes, consume yourself until you run out. Who cares? Who will realize? Who will notice? Connect your mind to a cable if you are frightened by the silence, Perforate your body, enjoy it Modify it; mutilate from now on your future offspring, send to hell your intimacy become the show for whoever fucking feels like looking at you! Volume to the synthesizer; don't fall in love, don't miss absolutely anyone, break the barrier of excess drown in furious oceans, contaminated by turbulence, adrenaline, by overdose; Postmodern children, offspring of the era of disenchantment and absence of utopias, spawn of individual chaos; killers and suicides, of lost causes Who cares still?
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DesDe eros, hacia �gape
Ku tur mi amor. "... en los momentos cr�ticos he de reencontrar mi esp�ritu, igual que otrora, asc�tico". Kavafis Canta, mi bella Agl�ope, esta vez no hay m�stil del que amarrarme. Dame un poco de esa vida envenenada, de ese fuego que terminar� por consumirme hasta las fr�as cenizas. Desenvuelve tu sabidur�a en un papiro, deseo devorarla sin demora; despliega ya tu libro antiguo, hija de la Tierra, tan dulce en el paladar, como ambros�a, y amargo despu�s, como la mar, que hasta tus puertas me ha tra�do. Por las tierras salvajes de Eros cond�ceme; por sus bosques, donde asechan bestias imposibles de domar; escribe un mapa en cicatrices sobre este coraz�n invadido por el hambre, menesteroso de vida y sangre; de reflejos y memoria. La luna crece, lentamente entre manantiales escarlatas de nubes y deseos; sella ahora con tus labios este instante, y s�lvalo del cruel paso del tiempo... Saldr�s a flote en mi recuerdo, cuando mi cuerpo vuelva al polvo y mi esp�ritu hacia el Hades. Vengo del mar, voy hacia �l, llevar� en mis labios tu perfume con aroma a media noche. Hacia el infinito oc�ano de �gape, llevar� la Llama oculta de tu vida; a trav�s del horizonte, donde el cielo y las olas se unen, y el d�a y la noche se abrazan, entre las nubes doradas del Ocaso; cuando tu fuego haya vivido lo suficiente para destruir con �l el templo en m� construido, y as� volver a edificarlo... Canta, mi bella Agl�ope, aunque me lleves m�s all� de la morada de Tiresias; mi alma es s�lo sed y vacuidad; y tu cuerpo, s�lo agua para ella.
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From Eros, to AgApE
Ku tur mi amor. "... when I wish, at critical moments I'll recover my ascetic spirit as it was before". Kavafis Sing, my beautiful Aglaope, this time there is no mast from which to tie myself. Give me some of that poisoned life, of that fire that will end up consuming its cold ashes. Unwrap your knowledge in a papyrus, I wish to devour it without delay; Unfold your ancient book, daughter of the Earth, as sweet to the palate, as ambrosia, and bitter afterwards, like the sea, and which to your door it has brought me. Through the wild lands of Eros guide me; through its forests, where beasts impossible to tame lurk; write a map in scars on this heart invaded by hunger, deserving of life and blood; of reflections and memory. The moon grows, slowly between scarlet springs of clouds and desires; seal now with your lips this instant, and save it from the cruel passage of time... You'll keep afloat in my memory, when my body returns to dust and my spirit towards Hades. I come from the sea, towards it I roam, I will carry in my lips your perfume with its midnight scent. Towards the infinite ocean of Agape, I will carry the hidden Flame of your life; through the horizon, where heaven and waves unite, and day and night hug, between the golden clouds of Twilight; when your fire has lived enough to destroy with it the temple built in me and that way rebuild it... Sing, my beautiful Aglaope, even if you take me beyond Tiresias� dwelling; my soul is only thirst and emptiness; and your body only water for it.
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HUMANIZE
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